[Zack De La Rocha:]Run them jewels fast, run them, run them jewels fastRun them, run them, r-run them, run them, f*ck the slow mo

[Killer Mike (El-P):]Fashion slave, you protestin' to get in a fckin' look bookEverything I scribble's like The Anarchist Cookbook(Look good, posing in a centerfold of Crook Book)Black on black on black with a ski mask, that is my crook lookHow you like my stylin', bruh? Ain't nobody stylin', bruh'Bout to turn this mothafcka up like Riker's Island, bruhWhere my thuggers and my cripples and my bloodles and my brothers?When you niggas gon' unite and kill the police, mothafckas?Or take over a jail, give those COs hellThe burnin' of the sulfur, God damn I love the smellLike it's a pillow torchin', where the fck the warden?And when you find him, we don't kill him, we just waterboard himWe killin' 'em for freedom cause they tortured us for boredomAnd even if some good ones die, f*ck it, the Lord'll sort 'em

[El-P (Killer Mike):]We out of order, your honor, you're out of orderThis whole court is unimportant, you fckers are walkin' corpsesI'm a flip wig synonym, livin' within distortionI'll bite into a cyanide molar before you whores winI'm a New Yorkian, I fck for the jumpI wear my Yankee so tilted I actually walk with a hunchLook at Mikey, I think he likey, we are sinister sons(Aye, we the type to beat the preacher with a grin and a gun)

[Hook - Zack De La Rocha:]Run them jewels fast, run them, run them jewels fastRun them, run them, r-run them, r-run them, run them, r-run themRun them jewels fast, run them, run them jewels fastRun them, run them, r-run them, r-run them, run them, r-run them

[El-P (Killer Mike):]A wise man once said, ("We all dead, fck it")Just spit it disgusting youngin', and hold your nuts while you're gunnin'I listened, tatted a sentence on my dick last summerNow I'll never get that phrase off my brain, it's no wonderI'm here to buy hearts, I got hundreds, honeyThe cheaper the parts, the better buy for the moneyI'm trained in vagina whisperin', glistenin'Waitin' for their christenin', I know the neighbors can't help but listen inA dirty boy who come down on a side of dissonanceI can't even relax without sirens off in the distancesNot shittin' you, little buddy, this fckin' island's a prisonThe only silence I have is an act of conjugal visitin'

[Killer Mike (El-P):]My solitary condition's preventin' conjugal visitsGo mane and missin' my misses, they keepin' me from my childrenConditions create a villain, the villain is givin' visionThe vision becomes a vow to seek vengeance on all the viciousLiars and politicians, profiteers of the prisonsThe forehead engravers, enslavers of men and womenIncludin' members of clergy that rule on you through religion(So strippin' kids to the nude and then tell 'em God'll forgive 'em)

[Hook]

[Zack De La Rocha:]It's De La on the cut, liftin' 6 on your stitchy crewI'm miles ahead of you, you can sip my bitches brewMy battle status is burnin' mansions from Dallas to MalibuCheck my résumé, your residence is residueCall her a skin job and my honey dip'll backflip for youYou playin', God your eye sockets, she gon' rip in twoWe sick of bleedin' out a trace, spray a victim, youDone dyin', Phillip AK Dickin' youWith clips in the bottom, we dippin' from GothamYes eclipsed by the shadows, a dark dance to the coffinI'm a fellow with melanin, suspect of a felonyRipped like Rakim Allah, feds is checkin' my melodyYes aggressively tested we'll bump stretchers and penaltiesDump cases with face and the cop pleas when we seizing a pumpWith reason to dump on you global grand dragonsStill pilin' fast, plus Afghani toe taggin'Now they trackin' me and we bustin' back, seeThe only thing that close quicker than our caskets be the factories

[Hook]

The director A.G. Rojas about the music video:

When Run The Jewels sent me this track, I knew we had the opportunity to create a film that means something. I felt a sense of responsibility to do just that. We had to exploit the lyrics and aggression and emotion of the track, and translate that into a film that would ignite a valuable and productive conversation about racially motivated violence in this country. It's provocative, and we all knew this, so we were tasked with making something that expressed the intensity of senseless violence without eclipsing our humanity. For me, it was important to write a story that didn’t paint a simplistic portrait of the characters of the Cop and Kid. They're not stereotypes. They're people - complex, real people and, as such, the power had to shift between them at certain points throughout the story. The film begins and it feels like they have been fighting for days, they’re exhausted, not a single punch is thrown, their violence is communicated through clumsy, raw emotion. They've already fought their way past their judgments and learned hatred toward one another. Our goal was to highlight the futility of the violence, not celebrate it.

Killer Mike about the music video:

this video represents the futile and exhausting existence of a purgatory-like law enforcement system. There is no neat solution at the end because there is no neat solution in the real world. However, there is an opportunity to dialogue and change the way communities are policed in this country. Salutes to AG Rojas for his unique take on the subject matter and to Shea and Keith for giving us their all and bringing it to life.

“What You Waitin’ On?” chronicles the ups and downs faced by fictional emcee #TyroneWhite, frontman of #theWhiteMandingos, who is played by none other than legendary rapper #Murs. Tyrone’s story is rich and nuanced, and you can enjoy the whole of it on The Ghetto’s Tryna Kill Me ( #FatBeats ).

This is my most comfortable setup for #live #performances: The #Continuum #Fingerboard and a #Kalimba plugged into the #Lyra8. The setup is light (I can take it on my bicycle and with public transports) and easily built up. Neither sound engineering nor much space is needed on stage. The controlling interfaces of the three instruments allow me to #improvise intuitively, using only my both hands and feet. The audience can clearly observe how I interact with these very special instruments. The sound is completely #analog and very organic. All sound is triggered directly by me, a human being, without loops or sequencers. The only effect is the built-in delay of the Lyra 8. The tonalities are also controlled carefully by me. The three instruments allow me to do so. No pre-defined un-natural 12-half-tone equally tempered scale is used. Recorded 2018-03-21Embedded contentLyra 8 & Kalimba & Continuum ""Koto"" (In honor of Alice Coltrane) by KING EMIR by KING EMIR on SoundCloud

The first piece reminds me a little, very little bit of sounds Coil would have used. Quite nice, enjoyed it.So I understand you are playing a real hardware Kalimba and feed it through the Lyra? What do you do with the Continuum? Can that save sounds?

I am currently watching a few YT videos on the Lyra, still don't really get it, it's mainly an effect device? But really interesting. Will need to watch more to find out.I have seen a Continuum at the Berlin Synthesizer exhibition almost 1 year ago, plus loads of other classic or experimental devices.

The Lyra has its own sound generators, they respond to closing the electric circuit with your fingers on contact spots. The sound generators have a really slow attack, so you end up using their sound to create spheric soundscapes, it's almost impossible to play melodies. Each sound generator can be tweaked steplessly in the pitch, and a pair of neighboring sound generators can be tweaked in the shape (triangle->square or so). They can also be used for modulating each other. Then, there's the effect section which is a quite unique delay.

Yes, I plug in an analogue picked up Kalimba into the Lyra, to let its sound be modified by the effect section of the Lyra, and to add the Lyra's own sounds.

The continuum has its own internal sounds (a mix of multisamples and digital sound generators) which respond sophisticatedly to the playing on the continuum surface and to foot pedals.

I used to control external synths (both analogue and digital) with it, but I hate all the midi setting up, it's so annoying, at the moment I use just the internal sounds (which could be programmed if you like). It's not possible to use the Continuum as a sampler/looper though.

This is an interesting introduction by Paul Gilroy to the #grime #music album "Red, White & Zero" by East Man:

London’s young people have been seen as a problem by governments for many generations now. Their distinctive street cultures stretch back into the nineteenth century when, just like today, a stylish public presence signified danger to respectable people. At that time, Britain’s class conflicts were being re-made amidst all the gloriousfruits of a global empire. Divisions like class and sex had diafferent shapes and tempos that hardly resemble the machinery of our increasingly networked and unequal world. Religion, racism and nationalism were all important, but work, exploitation and poverty supplied the fiery core of politricks.These days, Britain’s imperial wealth and prestige are long gone. Today’s young people are excluded and marginalized, confined and criminalized, yet they remain at the heart of the vital, energetic best of our city. Their energy and imagination drive London’s convivial culture. They duck and dive just like their predecessors. They hustle, they suffer and they survive. Even where knives are common, most of the problems that come up get resolved without murderous violence. The defining experience of their precarious situation is more likely to be fear or anxiety than warfare between gangs. Their violence is more likely to turn inwards on to their loved ones and family members. There are many forms of self harm and self medication.Yet the space in which those youthful lives unfold has contracted. The scale on which life is lived has shrunk. Moving around can be expensive. Surveillance is constant. Dignity and certainty are difficult to find and hold on to. It can be hard to feel comfortable outside the spaces and places you know best. Those familiar circuits are marked out by the roadside shrines of dead flowers that show just how vulnerable you can quickly become.We have been losing London to Babylon but we are busy making a new place. The edges of the city have become fertile. The weeds grow up explosively between palisaded concrete boxes and the litter-strewn greenery. This is not zones 1 and 2 where houses and flats are capital rather than buildings to live in. The music that comes out of that edgy world isn’t what it was a generation ago, but it’s still fundamental --necessary for life.These shocking sounds can be a part of healing and repair while staying faithful to the pressures that forged them. Musicians can’t make a living from their creativity, but their listeners can’t understand this historical moment unless they get to grips with its local rules, meanings and poetry. This is not America. Even without words, this music speaks for itself and tells a story. It calls out to be understood while seeking ways to escape interpretation.

We are always more than either this or that. We are more than either black or white.

Interesting. Challenging. Reminds me a bit of the force that once was Fun*Da*Mental. Though as a non-native speaker and additionally not too familiar with their specifically British situation I feel a little bit overwhelmed by the dense amount of information and position they condense into albums. On the other hand that is why they impressed me. I have experienced Fun*Da*Mental live early, I believe that was 1995. Impeessive.East Man do remind me of them, more in approach than content, though I have just only skipped across their album thanks to your post. Thanks.

I suppose this album will really get to live when listened to with good headphones and the bass cranked up high.

Would be interested how you're going to like this one. It was one of my favouriye releases for 2017. Btw I was happy to see East Man is on bandcamp, too. I think it will take me a while to get used to the record, it sounds quite interesting, though quite edgy. But demanding listening experiences are how you grow.